One epiphany too many in this film, which had me and nearly every other filmgoer checking their watches repeatedly. No one was surprised by the graphic homosexual sex, nor the transvestite, nor the other pseudo-revelations we were forced to endure. Having recently seen THE CELEBRATION, I found Ceux...'s script boring and predictable, which forced its makers to resort to a cheezy soundtrack which made over-obvious comments on the THEMES and INNER STATES of the far-too-numerous-to-be-fully-developed characters, and, worse, to enervatingly jarring cinematography. The Danish pic carried out its more ambitious project with more flair and less pyrotechniques, and achieved pathos and fuller characterization. If this film hails the rebirth of le cinema francais, then don't be surprised if the land of degaulle is not in the forefront of european cinema in the vingt-et-unieme. Interestingly, could the big-family-reunion cycle in Europe be connected to the integraion of the continent, and deeply-held fears about the internal struggles/issues which remain unresolved? Can european cousins really get along?
Review of Those Who Love Me Can Take the Train
